The Spectacle of the Scaffolding: Rape and the Violent Foundations of Medieval Theatre Studies

2004 ◽  
Vol 56 (2) ◽  
pp. 163-181 ◽  
Author(s):  
Jody Enders
Keyword(s):  
Medieval Theatre ◽  
Theatre Studies

The Messy Business of Art, Research, and Collaboration: Audience Engagement in Home/Less/Mess

2016 ◽  
Vol 4 (2) ◽  
Author(s):  
Dawn Farough
Keyword(s):  
Research Project ◽  
Audience Engagement ◽  
Theatre Studies ◽  
The Subject ◽  
Art Research

AbstractThe subject of theatre audience engagement has preoccupied scholars and practitioners in theatre studies and research-informed theatre. Yet at the same time, there is a profound absence of data about audience members. The Canadian play and research project,

Liturgy and Drama: Recent Approaches to Medieval Theatre

1981 ◽  
Vol 33 (3) ◽  
pp. 289 ◽  
Author(s):  
Thomas P. Campbell
Keyword(s):  
Medieval Theatre

The Theatrical Memory of Space: from Piscator and Brecht to Belgrade

2005 ◽  
Vol 21 (4) ◽  
pp. 358-366 ◽  
Author(s):  
Silvija Jestrovic
Keyword(s):  
Postdoctoral Fellow ◽  
Avant Garde ◽  
Cultural Spaces ◽  
Theatre Studies ◽  
The University ◽  
The City

In this article, Silvija Jestrovic introduces the notion of spatial inter-performativity to discuss theatre's relationship to actual political and cultural spaces. Focusing on the Berlin of the 1920s in performances of Brecht and Piscator, then on a street procession of the Générik Vapeur troupe that took place in Belgrade in 1994, she examines how theatrical and political spaces refer to and transform one another. Silvija Jestrovic was a SSHRC postdoctoral fellow at York University in Toronto, and has recently taken up an appointment in the School of Theatre Studies at the University of Warwick. She is currently working on a book-length project entitled Avant-Garde and the City.

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

scholarly journals Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane

2017 ◽  
Vol 33 (1) ◽  
pp. 3-21
Author(s):  
Janice Norwood
Keyword(s):  
Nineteenth Century ◽  
English Literature ◽  
Theatre History ◽  
Senior Lecturer ◽  
Personal Lives ◽  
Professional Activities ◽  
Theatrical Management ◽  
Aesthetic Practice ◽  
Theatre Studies ◽  
The University

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

Innovative Spirit at the Heart of Theatre Studies

2005 ◽  
Vol 21 (3) ◽  
pp. 203-204
Author(s):  
Baz Kershaw
Keyword(s):  
Actor Training ◽  
Stage Management ◽  
Theatre Studies ◽  
International Standing

Clive Barker made an exceptional contribution to British theatre studies and its international standing. No one else of his generation travelled the extraordinary distance from a conventional stage-management course to become a world leader in actor training workshops, as well as an editor and scholar of distinction. He was a pioneer in bridging the uneasy divide between the professional theatre and its serious study in British universities.

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